, 1887-01-01
MISSHAPEN IDEAS.
BUILDERS SHOW A LEANING TOWARD
MEANINGLESS ORNAMENT.

BUILDERS SHOW A LEANING TOWARD
MEANINGLESS ORNAMENT.
An Architect Who Regrets the Increase
OF BuildinEs of Grotesque Deslgn-A
Few Words In Favor of Simple Clas-
steal Forms.
Any one of an observing MIND may
have noticed theiwidely different styles OF
architecture in the upper portions Of the
city and in those localities down town
where old buildings have given place to
new. Whether this diversity will eventu-
ally beautify the city is a question for
u architects to ponder. Mr.. Edward
II. Kendall, the architect, has very clear
and sensible ideas upon this subject. To
a reporter he said:
The recent increase In the
building industry makes the considera-
ton of architecture forms an important
matter. In New York we see at present
a wider divergence from old methods
than ever before in the history of the
city. 1t seems Us If our architects were
trying to Guido each other In the produc-
ton of grotesque ideas. Upon the west
side this is especially noticeable. Here
we have a tumble Of ornamentation, an
tAtta' VI HAiAHkN 4'il4l7 WHICH I 10 not
consider in good iastc.'
Then you nre not an admirer OF the
new styles employed by orr builderssH
In many instanctAo consider them cN-
travagant and i'll suited To the purposes
for which they were designed. / think
New Workers are already sorry for hay
ing gone to such extremes. Purity of
taste, which j. synonymous with sim
plicity of style, will always be the under
lying permanent element In architecture,
and we see even now many extremely
beautiful buildings in process of CON
struction.'
what are the principles that govern
the changes of form which occur in archi-
tecturei''
THE same law that governs all human
institutions; the love of variety, the law
of fashion. In New York we can dis
tinctly trace several different building
epochs. First the Dutch and colonial,
which is marked by its extreme simple
ity. This is q reflection of the simple
lives of the people. Then follows the
brick and brown stone front epoch, and
lastly the diversity of styles which marks
the present time
SIMPLE, CLASSICAL FORMS.
What are the most prevalent forms
now In usesn
THAT would he difficult to answer.
Many buildings are constructed after
Moorish patterns; others are Italian,
French, Gothic and Queen Anne designs;
but for the most part n mixed style is in
use which can hardly be classed in any
category. | am a firm believer in simple,
classical forms adapted to the uses of the
buildings to be constructed. Thus |
would not use the same ornamentation in
the hnil1tpr nj "a rbtrelt no in tho nan
struction OF II private dwelling or office
structure
DO you consider the blocks up town
more beautiful than the rows of monot-
brick and brown stone in the CEN
trail portion of the city,"
In one way, yes. 1t is always pleas
ing when looking down II street to see the
sky line broken, and in this respect our
uptown blocks, with their variety of tur-
rets and peaked fronts have a fine effect.
When | spoke disparagingly Of them | was
considering the houses individually not
in masses. Another remarkably good
effect is produced by placing the greatest
onamentation upon the corners of the
blocks. For example, the building occu-
pied bya silver manufacturing company on
Broadway has been much admired for its
turret, which you now rises from the side
walk at the street corner. At present we
have n strong leaning toward meaningless
ornamentation, but the past has proved
that there is always IN undertone of good
taste which will eventually triumph.
Look ut the grotesque forms prevailing
in France under Louis XIV, and the still
more fantastic designs Of the times of
Louis XIV and XVI, yet the good taste
of the people finally revolted against
these ideas. 1t is the same with dress.
Fashion is continually swerving away
from correct taste int peculiar notions,
IL as continually returning to the
straight line. OF course in architecture
the changes are not as rapid, for brick
and stone are very different things from
silk and satin. We generally find hat in
times of affected and incorrect taste the
architecture will be faulty
should not the architects be blamed
for thiss''
Not altogether. They are very much
trammeled by the ideas of their patrons.
To be sure there are many who do not
understand the principles Of their art, but
l should lay the blame more to the pre-
vailing spirit Of the times. Remember
the architecture of the Greeks and
Romans How consistent 1t was with
the simple and beautiful taste shown in
the life of those peoples. New York
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